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Years ago there were accumulated antecedents of different types against the museum director. Some of them are made public at the very moment when the director of the National Service of Cultural Heritage, Javier Díaz, asked him to resign. This is one of the issues of the country's main museum crisis.
Sunday, July 22, 2018 15:07 hrs.
For some, the resignation request of Roberto Farriol, director of the National Museum of Fine Arts (MNBA), was something that would arrive sooner or later. This, since 2013 until the date, had accumulated antecedents with regard to the bad practices perpetuated inside the heritage entity.
However, the petition did not materialize until July 11, when the director (s) of the National Cultural Heritage Service, Javier Díaz, decided to take action on this matter: "In accordance with to Law 19.882, which establishes who are the best public managers, I have requested the nonvoluntary resignation of the director of the National Museum of Fine Arts for a reason of loss of confidence, "explained Diaz.
" Here there has been a lack of encouragement to work as a team and also a lack of ability to manage the conflicts that have arisen within the museum. This fact is extremely relevant because as director of the museum, as a second-level public director, he has to manage conflicts within the museum, "added the authority.
Diaz's statements have their origin in the results of the Istas 21 survey that was applied to the Museum in 2015 by the Institute of Work Safety (IST) .Then the study showed disturbing figures regarding elements such as "psychological demands" and "duplicity of functions"
Survey Results.
Beyond these results, Diaz's words were also related to a series of conflicts that had been generated under the command of Farriol, who took office in 2012.
Differences and bad decisions
The first critics Farriol's leadership style emerged in 2013 when It was decided not to renew the contract of the Soledad Novoa's observer, who arrived at the institution through the call for tenders launched by the director of the time, Milan Ivelic, in late 2010.
Then, l & # 39; Argentina's Association of Art Critics, María José Herrera, at the time, issued a statement in which the departure of Novoa was called into question: "Unfortunately, the current director of the said institution, Roberto Farriol , decided not to renew the contract Novoa Donoso (…). This decision, although it responds to the legal framework, concerns us given a certain arbitrariness that we believe we can recognize (…) we are interested in asking the reason for its arbitrary exit, which will undoubtedly be more of a loss. for the institution that a possible advantage, "they said.
( Revue here letter to the support of Soledad Novoa )
But with the departure of Novoa, two conservatives arrived at the institution: Gloria Cortés and Macarena Goldenberg, who were announced as professionals who would arrive "chakonner" the proposal of the Museum.
However, in March 2015, Goldenberg decided to leave the The reasons were set out in a long letter addressed to Farriol, who also touched on more than one aspect: "(…) I did not have the l '. space necessary to fulfill my duties, acting only as producer and counterpart e external management. (…) I've never had so little choice to participate in decision making, or give advice on topics in which I have experience and match my profile "
decisions were made" behind closed doors "which resulted in" incoordination, confusion, confusion and friction between the members of the group ". team. "
" You personally decide which works will enter the museum without supporting or advising you and in charge of collections, or in its effects, a committee of dumps, as required by the 2008 Dibam protocol. the museum's work deposit capacity is also not considered to be responsible, and how this can be detrimental to the collection and reputation of the institution.An example of this is the purchase of 32 works from Israel Roa, a disproportionate number compared to other arti stes of the collection, becoming the second best represented artist, "he said.
( Revue here letter from Macarena Goldenberg )
Another case was that of Marianne Wacquez, who requested her transfer from the National Museum of Fine Arts to the Museum of Decorative Arts of the hostilities that began to emerge within the institution after the arrival of Farriol.
Recently, we also knew the situation of the healer Gloria Cortés, who, according to a report published by the Institute of Occupational Safety, would face a disease whose origin would be work. For this reason, the document ordered "to implement the necessary measures to terminate the exposure of the agent causing the occupational disease." This process, to this day, is still paralyzed.
However, there were also other episodes. In this sense, the curator Inés Ortega Márquez emphasizes that during the management of Farriol, decisions were made that imply, for example, the cessation of international exhibitions.
"I will refer here to the exhibition MIRÓ, the mirar experience a great exhibition prepared by the Museo Reina Sofía (Madrid) based on the pieces of his collection .. A unique opportunity to see the work of the last two decades, 60-80 years, of one of the most remarkable Surrealist His presentation in Latin America was jointly conducted by the Conservatives of Mali (Lima), Fine Arts of Buenos Aires and the MNBA of Santiago de Chile.Then, the costs for Chile rose to 250 million pesos.But, two months after the inaugural date, the director dropped it. I could not finance it, the funny thing is that the sample was accepted, but the director did not have the capacity to manage the necessary funding, unexpectedly the other two countries had to share Sample transportation costs from Europe. The image of our Museum of Fine Arts and Chile was terrible, "he says.
Also, the professional recalls a case which, for the Museum, meant a great media impact: the suspension of the first exhibition in Chile of the Italian painter and sculptor Amedeo Modigliani (1884-1920)
[19659007] "Almost ready to arrive in Chile, it was discovered that it contained false works and that the curator and the president of this foundation had been imprisoned." Surely, there was a circumstance of negligence on the part of Director of our MNBA institution, a sample was accepted without verifying the authenticity of the exhibits and the entity of the curator, when it was known that other museums had rejected said exhibition. Even in Chile, since it was first proposed to the CCPLM, which rejected it, "he adds.
Why now?
Once the resignation was known, Farriol replied that the petition was "legitimate" and that the process should take "calm". He also noted: "Now, why now? Why are these causes? It's another problem, and history and time prove to me that it's fine."
The issue is constantly attracting attention, especially if we consider that the questions exist in 2013, but for those who have attended the process, this can not be done. explain that because he was born during his years at the head of the Fine Arts by Ángel Cabeza, former director of Dibam and former director of the National Cultural Heritage Service, who had to leave his post after a series of accusations.
In this line, various officials of the Museum warn that Cabeza has always been aware of the problems of the MNBA.
It is also evident in the letter that Macarena Goldenberg wrote at the time, this text was sent not only to Farriol, but also to Ángel Cabeza [19459] 018] and Bernardo Jorquera, his former chief of staff and current leader of Anfudibam, an organization that, incidentally, took the voice of those who support the director of the entity
From this point of view , one of the Museum officials warns: "Javier Díaz, when he badumed the position left by Cabeza, is responsible for what was happening. He performed something that had been questioned for a long time. "
In the picture: Javier Díaz, director (s) National Service of Cultural Heritage
Present and future of the institution
Once requested the resignation, they should wait nearly twelve business days for the civil status to badess the petition in months.However, the environment within the heritage entity has been emphasized over the days. , since the officials were divided into two groups: those who support the management of Farriol and those who questioned their permanence.
But in the face of this fragmented scenario, more than one pointed out that 39, is an opportunity to open a debate on the role of the museum, how to establish links with communities, how to reach the regions and to what extent to host international collections, could be some of the future issues that they comment on [19659007] The important thing, they warn, is to gather a divided look today.
For some, the resignation of Roberto Farriol, director of the National Museum of Fine Arts (MNBA), was something that would come sooner or later. This, since 2013 until the date, had accumulated antecedents with regard to the bad practices perpetuated inside the heritage entity.
However, the petition did not materialize until July 11, when the director (s) of the National Cultural Heritage Service, Javier Díaz, decided to take action on this matter: "In accordance with to Law 19.882, which establishes who are the best public managers, I have requested the nonvoluntary resignation of the director of the National Museum of Fine Arts for a reason of loss of confidence, "explained Diaz.
" Here there has been a lack of encouragement to work as a team and also a lack of ability to manage the conflicts that have arisen within the museum. This fact is extremely relevant because as director of the museum, as a second-level public director, he has to manage conflicts within the museum, "added the authority.
Diaz's statements have their origin in the results of the Istas 21 survey that was applied to the Museum in 2015 by the Institute of Work Safety (IST) .Then the study showed disturbing figures regarding elements such as "psychological demands" and "duplicity of functions"
Survey Results.
Beyond these results, Diaz's words were also related to a series of conflicts that had been generated under the command of Farriol, who took office in 2012.
Differences and bad decisions
The first critics Farriol's leadership style emerged in 2013 when It was decided not to renew the contract of the Soledad Novoa's observer, who arrived at the institution through the call for tenders launched by the director of the time, Milan Ivelic, in late 2010.
Then, l & # 39; Argentina's Association of Art Critics, María José Herrera, at the time, issued a statement in which the departure of Novoa was called into question: "Unfortunately, the current director of the said institution, Roberto Farriol , decided not to renew the contract Novoa Donoso (…). This decision, although it responds to the legal framework, concerns us given a certain arbitrariness that we believe we can recognize (…) we are interested in asking the reason for its arbitrary exit, which will undoubtedly be more of a loss. for the institution that a possible advantage, "they said.
( Revue here letter to the support of Soledad Novoa )
But with the departure of Novoa, two conservatives arrived at the institution: Gloria Cortés and Macarena Goldenberg, who were announced as professionals who would arrive "chakonner" the proposal of the Museum.
However, in March 2015, Goldenberg decided to leave the The reasons were set out in a long letter addressed to Farriol, who also touched on more than one aspect: "(…) I did not have the l '. space necessary to fulfill my duties, acting only as producer and counterpart e external management. (…) I've never had so little choice to participate in decision making, or give advice on topics in which I have experience and match my profile "
decisions were made" behind closed doors "which resulted in" incoordination, confusion, confusion and friction between the members of the group ". team. "
" You personally decide which works will enter the museum without supporting or advising you and in charge of collections, or in its effects, a committee of dumps, as required by the 2008 Dibam protocol. the museum's work deposit capacity is also not considered to be responsible, and how this can be detrimental to the collection and reputation of the institution.An example of this is the purchase of 32 works from Israel Roa, a disproportionate number compared to other arti stes of the collection, becoming the second best represented artist, "he said.
( Revue here letter from Macarena Goldenberg )
Another case was that of Marianne Wacquez, who requested her transfer from the National Museum of Fine Arts to the Museum of Decorative Arts of the hostilities that began to emerge within the institution after the arrival of Farriol.
Recently, we also knew the situation of the healer Gloria Cortés, who, according to a report published by the Institute of Occupational Safety, would face a disease whose origin would be work. For this reason, the document ordered "to implement the necessary measures to terminate the exposure of the agent causing the occupational disease." This process, to this day, is still paralyzed.
However, there were also other episodes. In this sense, the curator Inés Ortega Márquez emphasizes that during the management of Farriol, decisions were made that imply, for example, the cessation of international exhibitions.
"I will refer here to the exhibition MIRÓ, the mirar experience a great exhibition prepared by the Museo Reina Sofía (Madrid) based on the pieces of his collection .. A unique opportunity to see the work of the last two decades, 60-80 years, of one of the most remarkable Surrealist His presentation in Latin America was jointly conducted by the Conservatives of Mali (Lima), Fine Arts of Buenos Aires and the MNBA of Santiago de Chile.Then, the costs for Chile rose to 250 million pesos.But, two months after the inaugural date, the director dropped it. I could not finance it, the funny thing is that the sample was accepted, but the director did not have the capacity to manage the necessary funding, unexpectedly the other two countries had to share Sample transportation costs from Europe. The image of our Museum of Fine Arts and Chile was terrible, "he says.
Also, the professional recalls a case which, for the Museum, meant a great media impact: the suspension of the first exhibition in Chile of the Italian painter and sculptor Amedeo Modigliani (1884-1920)
[19659007] "Almost ready to arrive in Chile, it was discovered that it contained false works and that the curator and the president of this foundation had been imprisoned." Surely, there was a circumstance of negligence on the part of Director of our MNBA institution, a sample was accepted without verifying the authenticity of the exhibits and the entity of the curator, when it was known that other museums had rejected said exhibition. Even in Chile, since it was first proposed to the CCPLM, which rejected it, "he adds.
Why now?
Once the resignation was known, Farriol replied that the petition was "legitimate" and that the process should take "calm". He also noted: "Now, why now? Why are these causes? It's another problem, and history and time prove to me that it's fine."
The issue is constantly attracting attention, especially if we consider that the questions exist in 2013, but for those who have attended the process, this can not be done. explain that because he was born during his years at the head of the Fine Arts by Ángel Cabeza, former director of Dibam and former director of the National Cultural Heritage Service, who had to leave his post after a series of accusations.
In this line, various officials of the Museum warn that Cabeza has always been aware of the problems of the MNBA.
It is also evident in the letter that Macarena Goldenberg wrote at the time, this text was sent not only to Farriol, but also to Ángel Cabeza [19459] 018] and Bernardo Jorquera, his former chief of staff and current leader of Anfudibam, an organization that, incidentally, took the voice of those who support the director of the entity
From this point of view , one of the Museum officials warns: "Javier Díaz, when he badumed the position left by Cabeza, is responsible for what was happening. He performed something that had been questioned for a long time. "
In the picture: Javier Díaz, director (s) National Service of Cultural Heritage
Present and future of the institution
Once requested the resignation, they should wait nearly twelve business days for the civil status to badess the petition in months.However, the environment within the heritage entity has been emphasized over the days. , since the officials were divided into two groups: those who support the management of Farriol and those who questioned their permanence.
But in the face of this fragmented scenario, more than one pointed out that 39, is an opportunity to open a debate on the role of the museum, how to establish links with communities, how to reach the regions and to what extent to host international collections, could be some of the future issues that they comment on [19659007] The important thing, they warn, is to gather a divided look today.
For some, the resignation of Roberto Farriol, director of the National Museum of Fine Arts (MNBA), was something that would come sooner or later. This, since 2013 until the date, had accumulated antecedents with regard to the bad practices perpetuated inside the heritage entity.
However, the petition did not materialize until July 11, when the director (s) of the National Cultural Heritage Service, Javier Díaz, decided to take action on this matter: "In accordance with to Law 19.882, which establishes who are the best public managers, I have requested the nonvoluntary resignation of the director of the National Museum of Fine Arts for a reason of loss of confidence, "explained Diaz.
" Here there has been a lack of encouragement to work as a team and also a lack of ability to manage the conflicts that have arisen within the museum. This fact is extremely relevant because as director of the museum, as a second-level public director, he has to manage conflicts within the museum, "added the authority.
Diaz's statements have their origin in the results of the Istas 21 survey that was applied to the Museum in 2015 by the Institute of Work Safety (IST) .Then the study showed disturbing figures regarding elements such as "psychological demands" and "duplicity of functions"
Survey Results.
Beyond these results, Diaz's words were also related to a series of conflicts that had been generated under the command of Farriol, who took office in 2012.
Differences and bad decisions
The first critics Farriol's leadership style emerged in 2013 when It was decided not to renew the contract of the Soledad Novoa's observer, who arrived at the institution through the call for tenders launched by the director of the time, Milan Ivelic, in late 2010.
Then, l & # 39; Argentina's Association of Art Critics, María José Herrera, at the time, issued a statement in which the departure of Novoa was called into question: "Unfortunately, the current director of the said institution, Roberto Farriol , decided not to renew the contract Novoa Donoso (…). This decision, although it responds to the legal framework, concerns us given a certain arbitrariness that we believe we can recognize (…) we are interested in asking the reason for its arbitrary exit, which will undoubtedly be more of a loss. for the institution that a possible advantage, "they said.
( Revue here letter to the support of Soledad Novoa )
But with the departure of Novoa, two conservatives arrived at the institution: Gloria Cortés and Macarena Goldenberg, who were announced as professionals who would arrive "chakonner" the proposal of the Museum.
However, in March 2015, Goldenberg decided to leave the The reasons were set out in a long letter addressed to Farriol, who also touched on more than one aspect: "(…) I did not have the l '. space necessary to fulfill my duties, acting only as producer and counterpart e external management. (…) I've never had so little choice to participate in decision making, or give advice on topics in which I have experience and match my profile "
decisions were made" behind closed doors "which resulted in" incoordination, confusion, confusion and friction between the members of the group ". team. "
" You personally decide which works will enter the museum without supporting or advising you and in charge of collections, or in its effects, a committee of dumps, as required by the 2008 Dibam protocol. the museum's work deposit capacity is also not considered to be responsible, and how this can be detrimental to the collection and reputation of the institution.An example of this is the purchase of 32 works from Israel Roa, a disproportionate number compared to other arti stes of the collection, becoming the second best represented artist, "he said.
( Revue here letter from Macarena Goldenberg )
Another case was that of Marianne Wacquez, who requested her transfer from the National Museum of Fine Arts to the Museum of Decorative Arts of the hostilities that began to emerge within the institution after the arrival of Farriol.
Recently, we also knew the situation of the healer Gloria Cortés, who, according to a report published by the Institute of Occupational Safety, would face a disease whose origin would be work. For this reason, the document ordered "to implement the necessary measures to terminate the exposure of the agent causing the occupational disease." This process, to this day, is still paralyzed.
However, there were also other episodes. In this sense, the curator Inés Ortega Márquez emphasizes that during the management of Farriol, decisions were made that imply, for example, the cessation of international exhibitions.
"I will refer here to the exhibition MIRÓ, the mirar experience a great exhibition prepared by the Museo Reina Sofía (Madrid) based on the pieces of his collection .. A unique opportunity to see the work of the last two decades, 60-80 years, of one of the most remarkable Surrealist His presentation in Latin America was jointly conducted by the Conservatives of Mali (Lima), Fine Arts of Buenos Aires and the MNBA of Santiago de Chile.Then, the costs for Chile rose to 250 million pesos.But, two months after the inaugural date, the director dropped it. I could not finance it, the funny thing is that the sample was accepted, but the director did not have the capacity to manage the necessary funding, unexpectedly the other two countries had to share Sample transportation costs from Europe. The image of our Museum of Fine Arts and Chile was terrible, "he says.
Also, the professional recalls a case which, for the Museum, meant a great media impact: the suspension of the first exhibition in Chile of the Italian painter and sculptor Amedeo Modigliani (1884-1920)
[19659007] "Almost ready to arrive in Chile, it was discovered that it contained false works and that the curator and the president of this foundation had been imprisoned." Surely, there was a circumstance of negligence on the part of Director of our MNBA institution, a sample was accepted without verifying the authenticity of the exhibits and the entity of the curator, when it was known that other museums had rejected said exhibition. Even in Chile, since it was first proposed to the CCPLM, which rejected it, "he adds.
Why now?
Once the resignation was known, Farriol replied that the petition was "legitimate" and that the process should take "calm". He also noted: "Now, why now? Why are these causes? It's another problem, and history and time prove to me that it's fine."
The issue is constantly attracting attention, especially if we consider that the questions exist in 2013, but for those who have attended the process, this can not be done. explain that because he was born during his years at the head of the Fine Arts by Ángel Cabeza, former director of Dibam and former director of the National Cultural Heritage Service, who had to leave his post after a series of accusations.
In esta línea, distintos funcionarios del Museo advierten that Cabeza siempre estuvo al tanto of the problems of the MNBA.
Esto también queda de manifiesto con la Carta que en su momento escribió Macarena Goldenberg, Este texto, no sólo fue enviado a Farriol, sino que también a Ángel C abeza there is Bernardo Jorquera, ex genuinely genuin and director of Anfudibam, organización that, of paso, ha asumido the vocería of those who apoyan the director of the integer.
Desde esta perspectiva, uno de los funcionarios of the Museo advierte: "Javier Díaz, cuando asumió el puesto that dejó Cabeza, is hizo cargo of lo que estaba pasando. El ejecutó algo que esta cuestionando desde hace mucho tiempo ".
En la imagen: Javier Díaz, director (s) Servicio Nacional de Patrimonio Cultural.
Presente y futuro de la institución
Una vez solicitada la renuncia, deben esperarse cerca de doce días hábiles para que el Registro Civil evalúe la petición. Este plazo se cumple af in de mes. No obstante, el ambiente al interior de la entidad patrimonial se ha ido tensionando con el pasar de los días. Esto, ya que los funcionarios se han dividido en dos grupos: quienes apoyan la gestión de Farriol y quienes han cuestionado su permanencia.
Pero frente a este escenario fragmentado, más de uno ha señalado que ésta es una oportunidad para abrir un debate respecto del rol del Museo; cómo poder vincularse con las comunidades, de qué forma llegar a regiones y en qué medida acoger colecciones internacionales, podrían ser algunas de las preguntas futuras comentan.
Lo importante, advierten, es lograr aunar una mirada que hoy se encuentra divida.
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